Category Archives: duet

“Peaches & Herb – Reunited” 


Peaches & Herb are an American vocalist duo, once comprising Herb Fame (born October 1, 1942) and Francine “Peaches” Hurd Barker (April 28, 1947 – August 13, 2005). Herb has remained a constant in “Peaches & Herb” since its creation in 1966, while seven different women have filled the role of “Peaches.”


Herb Fame (born Herbert Feemster, October 1, 1942, in Anacostia, Washington, D.C.), sang in church and neighborhood groups as a child. After graduation from high school, he worked in a local record store where he met record producer Van McCoy and was signed to Columbia subsidiary Date Records by McCoy and A&R executive Dave Kapralik.[1] Francine “Peaches” Barker (born Francine Edna Hurd, April 28, 1947, in Washington, D.C.), using the stage name Francine Day,[2] started a singing trio initially dubbed The Darlettes and later renamed The Sweet Things after a change of record label to Date Records.[3] Having produced two releases for the trio, McCoy decided to record Feemster/Fame and Hurd/Day together at Kapralik’s suggestion.[4][5][6] The resulting single, “We’re in This Thing Together,” was distributed to radio stations but went nowhere for months until December 1966, when a St. Louis disc jockey broadcast the single’s B-side, a revival of the 1934 hit “Let’s Fall in Love.”[5][7]

The new duo, christened “Peaches & Herb,” had a string of successful singles and albums over the next two years such as “Let’s Fall in Love,” “Close Your Eyes,” “For Your Love,” and “Love Is Strange.” Despite burgeoning success and a media image as the “Sweethearts of Soul,” Barker chose to semi-retire from the duo after two years because of the rigors of touring. Marlene Mack (aka Marlene Jenkins), who had sung on the Jaynetts’ hit “Sally Go ‘Round the Roses” and had recorded as Marlina Mars,[8] replaced Barker on stage, but Barker remained on all of the duo’s recordings for Date Records. During this period, the semi-retired “Peaches” also worked as a solo artist using her married name, Francine Barker. She released three singles in total on the Columbia Records label,[3] including “Angels in the Sky” and “Mister DJ.”

Fame retired the act in 1970 when, for personal reasons, he enrolled in the police academy of Washington, D.C. and thereafter joined the city’s police department.[9] Peaches & Herb lay dormant until Fame decided to re-enter the music business in 1976. In his search for a new “Peaches,” Herb again enlisted the assistance of Van McCoy, who suggested that Linda Greene would be suitable for the position. Fame met Greene and concurred, thereby leading to formation of the most successful of the “Peaches & Herb” incarnations to date. Linda’s early musical training (while growing up in Washington, DC) was at The Sewell Music Conservatory.


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Tu Me Manqueras Toujours –  (I Will Miss You) lyrics  (with translation)  Artist: Priscillia Featuring feat: Marvin

Priscilla, Born: June 20, 1986 (age 30 years)

Genre: World

Albums: Un peu de moi, Un peu de moi (Instrumental), Priscillia, 1er amour

Record labels: WUM Productions, MUW Tropikal, DEBS MUSIC, Wum productions/shark ent, Pastel Productions


Aimer de nouveau

En mode Kizomba Zouk Love, Vol.2 (60 hits Kizomba Zouk Love) · 2017

Vini doudou

Priscillia · 2007

Mwen renmen bizwen

Avec toi

Un peu de moi · 2010

Fleur d’ébène Part II

Priscillia · 2007

Fleur d’ébène



Priscillia · 2007

Juste un Kiss

Fashion Zouk, Vol. 2 · 2014

Pa pléré

(English translation) Albums/Record Labels/Songs

Albums: A bit of me, A bit of me (Instrumental), Priscillia, 1er amour
Record labels: WUM Productions, MUW Tropikal, DEBS MUSIC, Wum productions / shark ent, Pastel Productions


Love again

In Kizomba mode Zouk Love, Vol.2 (60 hits Kizomba Zouk Love) · 2017

come doudou

Priscillia · 2007

I love bizwen

With you

A bit of me · 2010

Ebony Flower Part II

Priscillia · 2007

Ebony Flower



Priscillia · 2007

Just a Kiss

Fashion Zouk, Vol. 2 · 2014

Pa filled


(English Translation) ~Marvin~

The singer Marvin carton on the Caribbean waves with his tube “K.O”. Having already a solid musical experience, the artist intends to conquer the continent.

Author, composer and performer, Marvin grew up in Brittany. Métis of African descent, he quickly became interested in his different cultures and was inspired by his music. Following a five-year vocal training with one of the most famous singing teachers in France, Pierre Cappelle, Marvin travels through the piano-bars of the Côte d’Azur and acquires a real scenic experience. He then moved to Asia and performed in luxury hotels. His music is tinged with Caribbean sounds, RNB, soul and jazz. His songs at the crossroads of musical styles are reminiscent of three Guadeloupian artists: Thierry Cham, Medhy Custos and Slai.

Thanks to the support of DJ Wilson, he began writing his first solo album “Corps et Ames” in 2005, which made his passion for music a reality. Many Caribbean artists support him in his project and he writes in turn for several of them. The opus is a success of esteem and Marvin returns this year with a new album.

Prelude of this disc, the title “K.O” is a success in the West Indies and the artist already occurs in Europe. A mixture of RNB and zouk, this song could well open to Marvin the doors of the continent.

(French version) ~Marvin~

Le chanteur Marvin cartonne sur les ondes antillaises avec son tube “K.O”. Ayant déjà une solide expérience musicale, l’artiste compte bien conquérir le continent.

Auteur, compositeur et interprète, Marvin a grandi en Bretagne. Métis d’origine africaine, il s’est rapidement intéressé à ses différentes cultures et s’en est inspiré pour sa musique. Suite à une formation vocale de cinq ans avec l’un des professeurs de chant les plus réputés en France, Pierre Cappelle, Marvin parcourt les piano-bars de la Côte d’Azur et acquiert une véritable expérience scénique. Il part ensuite en Asie et se produit dans des hôtels de luxe. Sa musique se teinte de sonorités caribéennes, de RNB, de soul et de jazz. Ses chansons à la croisée des styles musicaux ne sont pas sans rappeler trois artistes guadeloupéens : Thierry Cham, Medhy Custos et Slaï.

Grâce au soutien de DJ Wilson, il débute en 2005 l’écriture de son premier album solo “Corps et Ames”, lequel concrétise sa passion pour la musique. De nombreux artistes antillais le soutiennent dans son projet et il écrit à son tour pour plusieurs d’entre eux. L’opus connaît un succès d’estime et Marvin revient cette année avec un nouvel album.

Prélude de ce disque, le titre “K.O” est un succès aux Antilles et l’artiste se produit déjà en Europe. Mélange de RNB et de zouk, cette chanson pourrait bien ouvrir à Marvin les portes du continent.



(Tu Me Manqueras Toujours)

I’ll Always Miss You (English translation)

I’ll Always Miss You
I’ll be here, beside you

Even if I know you don’t see me

I’ll walk in your footsteps

Even in the sky, close to you..

Your guardian angel is the day and night

Your soulmate is in paradise

I’ll love you even in death

Because my love is very strong

Why has life done this to us?

Why aren’t you beside me anymore?

I have cried and yelled many times

Praying the skies to let you

Tell me again, once more

That for your whole life, you’ll love only me

I’ll come every night to talk to you

In all of your dreams, oh, my adore

You’re gone, you left me only the memories, my adore

I remember your kisses

As if you’re coming to kiss me

In the silence of you absence

I always believe to hear you sing…

This melody that you loved

It fills my life and my spirit with your cheerfulness


I’ll always miss you

I’ll always miss you

I’ll always miss you

My love, forever

I’ll always miss you

I’ll always miss you

I’ll always miss you

My love…

The memories of the first day

That we passed, making love

The emotions, the words of love

We’d always rhyme together

I remember your pleasure

Of the good moments of delirium

And I will remember

the best of you in my memory

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Posted by on November 10, 2017 in duet, FRENCH FRIDAYS, music


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“Thompson Twins – Hold Me Now (Lyrics) [HQ]”

Thompson Twins were a British music group that formed in April 1977[3] and disbanded in May 1993. Initially a new wave group, they switched to a more mainstream pop sound and achieved considerable popularity in the mid-1980s, scoring a string of hits in the United Kingdom, the United States, and around the globe. 
The band was named after the two bumbling detectives Thomson and Thompson in Hergé’s comic strip The Adventures of Tintin.[4] At various stages, the band had up to seven members though their best known incarnation was as a trio between 1982–86. They became a prominent act in the Second British Invasion, and in 1985, the band performed at Live Aid where they were joined onstage by Madonna.[4]


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Righteous Brothers – You’ve Lost That Lovin’ Feelin’

You’ve Lost That Lovin’ Feelin’” is a song written by Phil SpectorBarry Mann, and Cynthia Weil. It was first recorded by the Righteous Brothers in 1964, and was produced by Phil Spector.

According to BMI music publishing, “You’ve Lost That Lovin’ Feelin'” was played on American radio and television more times than any other song in the 20th century. It got over 8 million plays from the time it was released until 2000. Note that this includes all versions of the song, not just The Righteous Brothers’.
The husband-and-wife songwriting team of Barry Mann and Cynthia Weil wrote this song at the request of Phil Spector, who was looking for a hit for an act he had just signed to his Philles label: The Righteous Brothers.Before signing with Spector, the duo had some minor hits on the Moonglow label, including “Little Latin Lupe Lu” (#49) and “My Babe” (#75). Mann and Weil listened to these songs to get a feel for their sound, and decided to write them a ballad. Inspired by “Baby I Need Your Loving” by The Four Tops, they came up with this song about a desperate attempt to rekindle a lost love.The title “You’ve Lost That Lovin’ Feelin'” was just a placeholder until they could think of something better, but Spector thought it was great so they went with it. With most of the song written, Mann and Weil completed the song at Spector’s house, where Phil worked with them to compose the famous bridge (“Baaaby… I need your love…”).The song was the first Righteous Brothers release on Philles, and it shot to #1, giving both the duo and the songwriting team of Mann & Weil their first #1 hit. It was Spector’s third #1 as a producer: he had previously hit the top spot with “To Know Him Is To Love Him” by The Teddy Bears and “He’s A Rebel” by The Crystals.

Phil Spector produced this song using his famous “Wall of Sound” recording technique. Spector got a songwriting credit on the track, as he usually demanded one around this time and had the clout to get it. Cynthia Weil has said that Spector never really wrote, but instead “inspired” songs.

Bill Medley recalls spending about eight hours working with Spector on the vocal for this song. It was a tedious process, since they had to record over previous takes in order to put down a new one. Also, Spector was very particular about the performances. Medley produced some of The Righteous Brothers’ album cuts, and typically spent about 30 minutes working on the vocals.

Phil Spector was determined to make this his finest production to date, and wanted it to be better than anything released by current top producers like Berry Gordy, George Martin, Andrew Loog Oldham and Brian Wilson. He chose the Righteous Brothers for their tremendous vocal talents, and enlisted his old Jazz guitar idol Barney Kessel to play on the song. Other musicians to play on the track included Los Angeles session pros Carol Kaye(acoustic guitar), Earl Palmer (drums) and Ray Pohlman (bass). Cher, who did a lot of work with Spector early in her career, can also be heard on background vocals near the end of the song. Spector was the first major West Coast producer to make the musicians wear headphones, so when they heard the song, they heard it with all the processing he added, which in this case meant a lot of echo. This got the musicians out of their comfort zones and made them work together to get a sound that gelled. It took more time to record this way, but Spector didn’t mind: while a typical 3-hour session would produce about four songs, Spector would spend an entire session working on one track, leaving a few minutes at the end to record a throwaway B-side jam.

In our interview with Bill Medley, he said that when Mann and Weil played them a demo of this song, he and his bandmade Bobby Hatfield thought, “Wow, what a good song for the Everly Brothers,” since the version they heard was sung in a higher register.Said Medley: “They were singing it a lot higher than we did, so they kept lowering it and lowering it and lowering it, and Phil slowed it down to that great beat that it was. I remember being in the studio with Phil and we weren’t used to working that hard on songs [laughs]. But we were smart enough to know every time he asked us to do it again, that it was getting better.”The opening line, “You never close your eyes any more when I kiss your lips,” was inspired by the Paris Sisters song “I Love How You Love Me,” which begins, “I love how your eyes close whenever you kiss me.”

Spector put the time on the single as 3:05 so that radio stations would play it. The actual length is 3:50, but stations at the time rarely played songs much longer than 3 minutes. It took radio station program directors a while to figure out why their playlists were running long, but by then the song was a hit.Billy Joel, who inducted The Righteous Brothers into the Rock and Roll Hall of Fame, makes a sly reference to this in his song “The Entertainer” when he sings, “If you’re gonna have a hit you gotta make it fit, so they cut it down to 3:05.”

Phil Spector put a tremendous amount of effort (and about $35,000) into this production, but the final product was so unusual that he began to wonder if he had a hit. Seeking a second, third and fourth opinion, he played the song for the following people:1) The song’s co-writer Barry Mann, who was convinced the song was recorded at the wrong speed. Spector called his engineer Larry Levine to confirm that it was supposed to sound that way.2) His publisher Don Kirshner, who Spector respected for his musical opinion. Kirshner thought it was great, but suggested changing the title to “Bring Back That Lovin’ Feelin’.”3) The popular New York disc jockey Murray the K. Spector confided in Murray that the song was almost four minutes long (despite the label saying it was 3:05), and wanted to make sure he would play it. Murray thought the song was fantastic, but suggested moving the bass line in the middle to the beginning.Spector heard all three opinions as criticism, and got very nervous. “The co-writer, the co-publisher and the number-one disc jockey in America all killed me,” Spector said in a 2003 interview with Telegraph Magazine. “I didn’t sleep for a week when that record came out. I was so sick, I got a spastic colon; I had an ulcer.”

This song got a boost when The Righteous Brothers performed it on the variety show Shindig!, which launched in 1964 a few months before this song was released. Medley and Hatfield were regulars on the show, always eliciting screams from the many young girls in the audience. Appearances on the show gave them national exposure, which combined with the release of this song, made them sudden superstars. “It would be like being on American Idol every week,” Medley told us. “Then recording ‘Lovin’ Feelin’,’ it had a dramatic change in our life, and it was very fast. We went from 1 to 60 in a heartbeat.”

This was used in the 1986 movie Top Gun in a scene where Tom Cruise sings it to woo Kelly McGillis. When Cruise traveled to Asia, he was often asked to sing it by fans.

When the song’s writers Barry Mann and Cynthia Weil sang this for The Righteous Brothers, low-voiced Bill Medley loved it, but Bobby Hatfield was puzzled, as the duo typically shared lead vocals and he was relegated to a minor part in this song. Hatfield asked, “What do I do while he’s singing the entire first verse?” Phil Spector replied, “You can go directly to the bank.”According to Spector, The Righteous Brothers didn’t even want to record the song, as they fancied themselves more in the realm of rock and doo-wop.
Phil Spector bought out the remaining two-and-a-half years of the Righteous Brothers’ contract with Moonglow Records (with whom they had regional hits “Little Latin Lupe Lu” – later covered by Mitch Ryder and the Detroit Wheels – “Koko Joe,” and “My Babe”) so he could sign them. When this song became a hit, Moonglow released a lot of their old Righteous Brothers material to capitalize on the demand.

Some of the artists who covered this include Elvis, Dionne Warwick, Hall and Oates, and Neil Diamond, among others. Warwick’s version hit #16 in 1969, Hall and Oates’ hot streak began when their remake hit #12 in 1980 (they followed with the #1 “Kiss on My List” and #5 “You Make My Dreams.” That LP, Voices, also had the original version of “Everytime You Go Away,” later made into a #1 hit by Paul Young). Hall And Oates eventually replaced The Righteous Brothers as the #1 selling duo of all time.

This is the only song to enter the UK Top 10 Three different times. It did it in 1965, and again when it was re-released in 1969 and 1990. The 1990 re-release was prompted by the rekindled success of “Unchained Melody,” which itself hit #1 after being used in the movie Ghost. The re-release of “You’ve Lost That Lovin’ Feelin'” peaked at #3.

In Rolling Stone magazine, Bill Medley recalled, “We had no idea if it would be a hit. It was too slow, too long, and right in the middle of The Beatles and the British Invasion.” The following is from the Rolling Stone’s Top 500 songs: “Spector was conducting the musicians for a Ronettes show in San Francisco when he decided to sign the Righteous Brothers, who were on the bill. He then asked Mann and Weil to come up with a hit for them. Bill Medley’s impossibly deep intro was the first thing that grabbed listeners. ‘When Phil played it for me over the phone,’ Mann recalled, ‘I said, “Phil, you have it on the wrong speed!”‘

The Rolling Stones’ manager, Andrew Loog Oldham, took out ads in the British trade papers saying that the Righteous Brothers’ version was the greatest record ever made.
In the UK, a version by Cilla Black was released just ahead of The Righteous Brothers’ version. Both songs charted the same week, with Black’s at #2 and The Righteous Brothers’ at #3. The next week, The Righteous Brothers’ version went to #1, giving Phil Spector his first #1 UK hit.

In 2003, The Righteous Brothers played this to open the ceremonies when they were inducted into the Rock and Roll Hall of Fame. It was odd timing, as Phil Spector was arrested on murder charges just a month before the ceremony.
Before he became a successful Country/Pop recording artist, Glen Campbell was one of about 50 Los Angeles session musicians who played on many hits of the ’60s. Phil Spector used him as a guitarist on several of his productions, most famously on this song. In a 2011 interview with UK newspaper The Daily Telegraph, Campbell was asked how he found working with the contentious producer. “He was a strange guy. You’ve probably heard that. This guy came up, one of them hillbilly singers, and asked [Spector], ‘what are you on, man?’ And he said, ‘Decca.’ Hah hah! I think he probably was doing some kind of drug. I don’t know. But he knew the musicians that he wanted to play on the records. And everything that he did was really, really good.”

Supergroup The Firm did a version for their 1985 self titled album. It was vocalist Paul Rodgers who chose to cover it after guitarist Jimmy Page asked him what one song in the world would he like to record. Rodgers recalled to Uncut magazine: “I’d always wondered if I could sing it, because it took two singers, to manage the octaves on it. It was a completely off the wall cover for us.”



Posted by on October 12, 2017 in duet, male vocalist, r&b



 “The Closer I Get To You (LYRICS) -Donny Hathaway ft Roberta Flack” 

 “The Closer I Get To You (LYRICS) -Donny Hathaway ft Roberta Flack” 

Flack and Hathaway were both solo artists on the Atlantic roster who’d enjoyed critical acclaim, but Flack had enjoyed limited commercial success. Both had attended Howard University, although Flack’s attendance there pre-dated Hathaway’s, the two singers’ careers had overlapped: Flack had included Hathaway compositions on her First Takeand Chapter Two albums with the latter also featuring Hathaway as pianist, arranger and background vocalist. It was Jerry Wexler who suggested a joint venture might consolidate Flack and Hathaway’s popularity.

The first single from Roberta Flack & Donny Hathaway was a version of “You’ve Got a Friend” recorded before the single release of the James Taylor version: both tracks debuted on the Hot 100 dated May 29, 1971 — marking Flack’s first chart appearance — and, although Taylor’s version reached #1, the Flack/Hathaway duet ascended as high as #29 and was a top ten R&B hit at #8. (The B-side, “Gone Away,” was a Chapter Two track written by Hathaway.)

The second single from the duets album was a remake of “You’ve Lost That Lovin’ Feelin’” that became a #30 R&B hit, peaking on the Hot 100 at #71.

It was the album’s third single “Where Is the Love” — released in April 1972, almost a year after the album itself — that would be the smash hit, largely due to Flack having had her solo career breakthrough with “The First Time Ever I Saw Your Face“.

Although Hathaway had enjoyed more solo success than had Flack prior to their teaming up, his subsequent solo career was desultory, with no high-profile success prior to his re-teaming with Flack for “The Closer I Get to You” in 1978. Hathaway had recorded two songs for a second duet album with Flack — that became the Roberta Flack Featuring Donny Hathaway album — at the time of his death on January 13, 1979.

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Posted by on September 23, 2017 in ballad, duet, music, pop music



“Limahl – Never Ending Story” 

“Limahl – Never Ending Story” 

The NeverEnding Story” is the title song from the English version of the 1984 film The NeverEnding Story. It was performed by Limahl. Limahl released two versions of the song, one in English and one in French. The English version featured vocals by Beth Anderson, and the French version featured vocals by Ann Calvert. It was a success in many countries, reaching No. 1 in Norway and Sweden, No. 2 in AustriaGermany and Italy, No. 4 in the UK, No. 6 in Australia and No. 6 in the US Billboard Adult Contemporary chart.

Background and writingThe song was composed by Giorgio Moroder with lyrics by Keith Forsey, although it (and other electronic pop elements of the soundtrack) is not present in the German version of the film, which features Klaus Doldinger‘s score exclusively.

Beth Anderson recorded her lyrics in America separately from Limahl’s.[1]Anderson does not appear in the music video; frequent Limahl backup singer Mandy Newton lip syncs Anderson’s lyrics.

As a reference to the film and its title, the song has no distinctive beginning, nor an end. While many songs fade out, “The Never Ending Story” not only fades out, but also fades.

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Posted by on August 28, 2017 in duet, theme song



“Don’t Let the Sun Go Down on Me (Lyrics) – George Michael feat. Elton John”

“Don’t Let the Sun Go Down on Me (Lyrics) – George Michael feat. Elton John”

Don’t Let the Sun Go Down on Me” is a song written by English singer-songwriter Elton John and his lyricist Bernie Taupin. It was released as the first single from Elton John’s 1974 album Caribou; it was released that year during the latter half of May in the United Kingdom, and on 10 June in the United States. The song found further success in 1991 in a version recorded live as a duet between John and George Michael which reached number 1 in the UK and US.

1974 Elton John version

Lyrics and music
In the song, Elton sings to someone he has helped and from whom he is now experiencing rejection:

I took a chance and changed your way of life
but you misread my meaning when I met you
closed the door and left me blinded by the light
don’t let the sun go down on me
although I search myself, it’s always someone else I see.
I’d just allow a fragment of your life to wander free
but losing everything is like the sun going down on me.

It was written with the other songs on the album during a ten-day period in January 1974.

The chorus of the song is supported with a horn arrangement by Del Newman, and features backing vocals of the Beach Boys’ Carl Wilson and Bruce Johnston, and Toni Tennille. Also on the song are percussion accents provided by Ray Cooper and a mellotron played by Dave Hentschel.

“Don’t Let the Sun Go Down on Me” charted on 1 June 1974 in Great Britain, making it to number 16 and reached the Top 10 after four weeks. On 10 August, the song’s two-week stay at number 2 ended. In the U.S., it was certified Gold on 6 September 1974 by the RIAA. In Canada, it reached number 1, becoming his fifth chart topper in that country.[1]


Posted by on August 26, 2017 in 1970s, duet, male vocalist, r&b, songwriter


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